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Asks who gets the right to call themselves a good person in a morally bankrupt world 

In The Flat Woman, women exclusively are blamed for the climate crisis. Seagulls drop dead from the sky, and the government, instead of taking responsibility, scapegoats a group of female ecoterrorists. When a girl’s mother is incarcerated for climate crimes, she is forced to raise herself alone. As a young woman, she begins a romance with an environmental activist whose passion makes her question her own role in the world. By turns hilarious, deadly serious, and completely absurd, The Flat Woman asks who gets the right to call themselves a good person in a world ripe with disaster. 

Driven by complex academic and moral questions, The Flat Woman is certain to appeal to fans of feminist and experimental literature, as well as fans of Margaret Atwood, Renee Gladman, Bhanu Kapil, Maggie Nelson, Kelly Link, and Anne Carson.

E.D.E.N. Southworth was one of the most popular and prolific writers of the nineteenth century and her Capitola Black, or Black Cap - a cross-dressing, adventure-seeking girl-woman - was so well-loved that the book was serialized three times between 1859 and 1888 and was dramatized in forty different versions.

When we first meet sharp and witty Capitola she is living among beggars and street urchins, and dressed as a boy because a boy can get work and be safe, whereas a girl is left to starve for want of "proper" employment. Unknown to her, Capitola has a very rich elderly guardian who finds her at a providential moment and takes her back to his palatial mansion where she finds herself "decomposing above ground for want of having my blood stirred." But not to fear. There are bandits, true-loves, evil men, long-lost mothers, and sweet women friends in Capitola's future - not to mention thunder storms, kidnap attempts, and duels.

The pace is fast, the action wonderfully unbelievable. This is escape literature at its nineteenth-century best, with a woman at its center who makes you feel strong, daring, and reckless.

 

A witch, a ward, and a houseboat adrift in time—where beauty and terror share the helm.

The mysterious houseboat Veronica motors across a postapocalyptic freshwater lake, inhabited by a black-haired witch and her young male ward. They explore an unfolding world of shape-shifting moons, vampire moths, and submerged witch cemeteries—a world where voluntary imprisonment holds its own appeal and the heart yearns for the delicate dance between blood and power, beauty and terror.

Neither a pirate nor a mere witch, she is an artist, a master of water and time who shapes reality with her baffling powers. This lyrical and compelling novel beckons readers to explore the enigmatic depths of its prose, inviting them to traverse the waters of wonder and bewilderment. Embrace the bewitching allure of The Houseboat Veronica and lose yourself in its enchanting embrace.

A bold debut story collection about first- and second-generation South Asian Americans coming of age—and coming undone 

From Ivy League dormitories and Delhi wedding stages to Roman balconies and North Carolina motels, the twelve stories of The Indianness map the distance between the life a person is expected to build and the one they actually inhabit.

Women anchor the collection: a mother alone in Rome with three young daughters tests the edges of her marriage; a college student arrives at NYU with one rule—save her virginity for an Indian husband—and breaks it before the week is out; a woman manages an abortion alone in a Manhattan clinic, too afraid to tell her husband she was ever pregnant; a former lawyer in Manhattan keeps a diary of a marriage she cannot bring herself to leave. But the men are equally undone: a Harvard-educated lawyer raised in a North Carolina motel confronts a past he can never quite verify; a history teacher in suburban Massachusetts assigns a racist essay, loses his wife, and isn't certain which failure came first; a man raised as a girl until the age of twelve sits with all he has inherited.

The collection challenges the model minority narrative not by dismissing success but by exposing what it costs, moving openly through sex, abortion, marital dissatisfaction, mental health, and sexual violence, and through the silences that live inside families. The Indianness offers a portrait of a community rarely rendered with such interior depth, insisting that South Asian Americans—women and men alike—deserve the same moral complexity, desire, and contradiction long afforded to others in American literary fiction.

A beguiling, perspective-shifting story of obsession and loss set in the grimy, late-colonial decadence of Macau at the end of the twentieth century
 

In The Inner Harbour, Antoine Volodine focuses his literary investigations away from dystopian futures to a specific place at a particular historical moment: Macau on the eve of the Portuguese colony’s transfer to China. In a seedy flat in one of the city’s slums, a hired assassin named Kotter interrogates Breughel, a writer on the run from a mysterious organization code-named Paradise. Breughel has been hiding out in Macau with his lover, Gloria Vancouver, and a significant sum of the organization’s money. But Gloria is dead and the money spent—or so Breughel claims—and now he lives alone in humid squalor.

With increasing severity, Kotter extracts Breughel’s confessions, but are they truth or subterfuge? Or are the confessions an elaborate work of fiction by a writer aware that they are no longer able to differentiate between memory and fantasy? Volodine brilliantly blurs the levels of narration—between what Breughel tells his interrogator, what he remembers or invents, and the stories he has written, including his accounts of Gloria’s hallucinatory visions of an apocalyptic war between military forces and the “chrysalids.”

Interweaving threads of fiction and truth, lies and hallucinations, The Inner Harbour evokes many of the themes found in Volodine’s other “post-exotic” works: the slippage between dreams and reality, the nightmares of history, the exhaustion of literature and politics, and questions about what it means to be faithful to people or ideas long since vanished. But Volodine also uses the setting of Macau’s late-colonial decadence to explore new sensations of foreignness, alienation, and resignation, all of which coalesce into a nesting doll of narrative that houses an unconventional and tragic love story.

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The Juggler (La Jongleuse) is a "decadent" novel that was first published in 1900. Its author, Marguerite Vallette-Eymery (1860-1953), who used the pseudonym Rachilde, was a prolific novelist (over sixty works of fiction), playwright, literary critic and reviewer, and a forceful presence in French literary society of her time.

The protagonist of the novel, Eliante Donalger, is in some sense an exaggerated double for her creator--bizarre in appearance, clothing, and interests. Instinctively grasping a medical and psychological truth that the turn-of-the-century scientific world was only beginning to understand, Eliante maintains that there is nothing "natural" about human sexual expression. She claims to be in love with an inanimate (though anthropomorphic and sexually ambiguous) object, a Greek amphora, and the novel traces the rivalry between this faithful partner and an ardent human suitor, a young medical student. It is only through juggling, both literally and metaphorically, that Eliante is able to use her seductive power to maintain desire. The surprise ending challenges the limits of such power in a controversial and surprising twist.

Although Rachilde's work has been neglected in the past, the women's movement and feminist criticism have stimulated renewed interest in her fiction. The Juggler is a major rediscovery.